Fantafestival International Science Fiction and Fantasy Film Festival

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Fantafestival International Science Fiction and Fantasy Film Festival 39th edition Rome, June 10-16, 2019 http://www.fanta-festival.it/ Directors: Michele De Angelis & Simone Starace Rules & Terms Topic Fantafestival is an international film festival devoted to science fiction, fantasy and horror film. Accepted submissions include feature films, shorts and documentaries belonging to the fantastic genre (science fiction, fantasy, horror and all related genres, including animation). Submissions Submission deadline: May 5, 2019. Submission fee: 8€ for shorts, 15€ for features Online submission will be accepted through film festival platforms (Click For Festivals, Reelport and Movibeta Festival). No need to send anything by courier. Shorts must be 30 seconds minimum to 60 minutes maximum. Filmmakers may submit as many works as they wish to, as long as they have not been screened in Italy before January 1, 2018. All submissions are final. No refunds are provided. Languages Films can be submitted in English or Italian language. We accept any other spoken language as well, but English or Italian subtitles must be provided. Media formats We accept 35mm or 16mm prints, DCP (Digital Cinema Package), Blu-ray discs and MP4 or MOV files. Files must have a minimum resolution of 1080p. Rights The submitter grants Fantafestival the rights to present his/her film to the press and to screen it during the festival days if selected. By submitting your film, you are granting the organizers the rights to screen your movie in the out of competition events parallel to the festival during 2019. The submitter is the only responsible for the content submitted. The copyright holder also authorizes the use of a fragment of his work up to three minutes for possible broadcast and promotion. The organization assumes that participants have the rights to exhibit and promote the works and material presented and disclaims any responsibility for the violation of this rule. Awards Golden bat for best feature film Golden bat for best short film Mario Bava award for best Italian feature film Mario Bava award for best Italian short film Audience award Jury Submitting a film implies acceptance of these rules and the decision by the organization. The jury's choice is final. Privacy The festival is open to international filmmakers over 18 years. Subscribers agree as established by the Italian Legislative Decree. 30/06/2003 n. 196 on the protection of privacy, the use of personal data for all initiatives related to the event. The author of the work declares to accept the regulation in all its parts. At any time you can ask which data of yours are in our archive, you can ask to remove them, to modify them, or to make them anonymous. The owner of the data is: Magnifica Ossessione, via Sant'Alfio 6, 00133 Rome, Italy ([email protected])..

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Riccardo Fredaâ€™S I Vampiri (1957) and the Birth of Italian Horror
Northumbria Research Link Citation: Guarneri, Michael (2017) The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective. Palgrave Communications, 3 (1). p. 29. ISSN 2055-1045 Published by: Palgrave Macmillan URL: https://doi.org/10.1057/s41599-017-0030-3 <https://doi.org/10.1057/s41599-017- 0030-3> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/32602/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) ARTICLE DOI: 10.1057/s41599-017-0030-3 OPEN The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective Michael Guarneri1 ABSTRACT Scholars tend to agree on Riccardo Freda’s I vampiri (1957) being the ﬁrst Italian horror ﬁlm.
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Title Call # Category Lang./Notes
Title Call # Category Lang./Notes K-19 : the widowmaker 45205 Kaajal 36701 Family/Musical Ka-annanā ʻishrūn mustaḥīl = Like 20 impossibles 41819 Ara Kaante 36702 Crime Hin Kabhi kabhie 33803 Drama/Musical Hin Kabhi khushi kabhie gham-- 36203 Drama/Musical Hin Kabot Thāo Sīsudāčhan = The king maker 43141 Kabul transit 47824 Documentary Kabuliwala 35724 Drama/Musical Hin Kadının adı yok 34302 Turk/VCD Kadosh =The sacred 30209 Heb Kaenmaŭl = Seaside village 37973 Kor Kagemusha = Shadow warrior 40289 Drama Jpn Kagerōza 42414 Fantasy Jpn Kaidan nobori ryu = Blind woman's curse 46186 Thriller Jpn Kaiju big battel 36973 Kairo = Pulse 42539 Horror Jpn Kaitei gunkan = Atragon 42425 Adventure Jpn Kākka... kākka... 37057 Tamil Kakushi ken oni no tsume = The hidden blade 43744 Romance Jpn Kakushi toride no san akunin = Hidden fortress 33161 Adventure Jpn Kal aaj aur kal 39597 Romance/Musical Hin Kal ho naa ho 41312, 42386 Romance Hin Kalyug 36119 Drama Hin Kama Sutra 45480 Kamata koshin-kyoku = Fall guy 39766 Comedy Jpn Kān Klūai 45239 Kantana Animation Thai Kanak Attack 41817 Drama Region 2 Kanal = Canal 36907, 40541 Pol Kandahar : Safar e Ghandehar 35473 Farsi Kangwŏn-do ŭi him = The power of Kangwon province 38158 Kor Kannathil muthamittal = Peck on the cheek 45098 Tamil Kansas City 46053 Kansas City confidential 36761 Kanto mushuku = Kanto warrior 36879 Crime Jpn Kanzo sensei = Dr. Akagi 35201 Comedy Jpn Kao = Face 41449 Drama Jpn Kaos 47213 Ita Kaosu = Chaos 36900 Mystery Jpn Karakkaze yarô = Afraid to die 45336 Crime Jpn Karakter = Character
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MARIO BAVA PART 1 the Day Ends, the End Begins
Dawn and lamplight, midnight, noon by the French as a caricature of a publicity- Sun follows day, night stars and moon loving surgeon who was frequently the butt of MARIO BAVA PART 1 The day ends, the end begins. satirists jokes.1 Peter Kemp LE PEINTRE NÉO-IMPRESSIONNISTE is Cohl’s 1. Jean Renoir: My Life and My Films, Collins, London, best known film, inspired by the work of the BLACK SUNDAY 1974, p.256 Incoherents, an art movement which was 2. André Bazin: Jean Renoir, WH Allen, London, 1974, forgotten by the general public by 1910, hence La Maschera Del Demonio / The p.118 Demon’s Mask / Revenge of the Vampire 3. Penelope Gillaitt: ‘Renoir: Le Meneur de Jeu’, Unholy the more recognisable, if less relevant reference Fools, Viking Press, New York, 1973, pp.318-319 to neo-impressionism in the film’s title. / The House of Fright Eugène Lourié selected filmography: Donald Crafton notes: 1960 ITALY 83 mins Madame Bovary 1934; Lower Depths 1936; La Grande The jokes arise from the interplay between the SEE MARIO BAVA FILMOGRAPHY FOR CREDITS, P.60 Illusion 1937; La Bête Humaine 1938; La Règle du Jeu ENGLISH LANGUAGE VERSION 1939; This Land is Mine 1943; The Southerner 1945; ridiculous titles and the colours in which the Diary of a Chambermaid 1946; The River 1951; various pictures originally would have been If Delphine Seyrig (still considered the Limelight 1952; Shock Corridor 1963; The Naked Kiss tinted. The title “First we have a picture definitive European lesbian vampire) can be 1964; Burnt Offering 1976; An Enemy of the People 1978 showing a cardinal eating lobster with described as, “an oozing French desert cheese” tomatoes by the Red Sea,” for instance, then Barbara Steele, the star of BLACK SUNDAY, CLONING THE FUTURE preceded a scene tinted entirely red.
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Kurosawa Kiyoshi Profile Prepared by Richard Suchenski Articles Translated by Kendall Heitzman Profile
Kurosawa Kiyoshi Profile prepared by Richard Suchenski Articles translated by Kendall Heitzman Profile Born in Kobe in 1955, Kurosawa Kiyoshi became interested in filmmaking as an elementary school student after he saw films by Italian horror filmmakers Mario Bava and Gorgio Ferroni. He formed a filmmaking club in high school and made his first Super 8mm short film, Rokkô, in 1973. Kurosawa continued making short 8mm films as a student at Rikkyô University, where he began to attend classes on cinema taught by Hasumi Shigehiko, the most important film critic and theorist of his era. Hasumi’s auteurist approach and deep admiration for American cinema of the 1950s deeply influenced a generation of Rikkyô students that, in addition to Kurosawa, included Suo Masayuki, Shiota Akihiko, Aoyama Shinji, and Shinozaki Makoto. While still a student, Kurosawa won a prize for his film Student Days at the Pia Film Festival in 1978. After presenting Vertigo College at Pia in 1980, he worked on Hasegawa Kazuhiko’s The Man Who Stole the Sun (1979) and Sômai Shinji’s Sailor Uniforms and Machine Guns (1981). Kurosawa was invited to join the Directors Company, an alternative to the major studios that offered creative freedom to young directors such as Hasegawa and Sômai. Under their auspices, he made his feature film debut with the pink film, The Kandagawa Wars, in 1983. Kurosawa next attempted to work directly for a major studio by directing a Nikkatsu Roman Porno entitled Seminar of Shyness, but the studio rejected the film, claiming that it lacked the requisite love interest. The film was eventually purchased from Nikkatsu and released as The Do-Re-Mi-Fa Girl in 1985, but the incident gave him a reputation as an idiosyncratic character and made securing funding for other studio projects difficult.
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Westerns…All'italiana
Issue #70 Featuring: TURN I’ll KILL YOU, THE FAR SIDE OF JERICHO, Spaghetti Western Poster Art, Spaghetti Western Film Locations in the U.S.A., Tim Lucas interview, DVD reviews WAI! #70 The Swingin’ Doors Welcome to another on-line edition of Westerns…All’Italiana! kicking off 2008. Several things are happening for the fanzine. We have found a host or I should say two hosts for the zine. Jamie Edwards and his Drive-In Connection are hosting the zine for most of our U.S. readers (www.thedriveinconnection.com) and Sebastian Haselbeck is hosting it at his Spaghetti Westerns Database for the European readers (www.spaghetti- western.net). Our own Kim August is working on a new website (here’s her current blog site http://gunsmudblood.blogspot.com/ ) that will archive all editions of the zine starting with issue #1. This of course will take quite a while to complete with Kim still in college. Thankfully she’s very young as she’ll be working on this project until her retirement 60 years from now. Anyway you can visit these sites and read or download your copy of the fanzine whenever you feel the urge. Several new DVD and CD releases have been issued since the last edition of WAI! and co-editor Lee Broughton has covered the DVDs as always. The CDs will be featured on the last page of each issue so you will be made aware of what is available. We have completed several interviews of interest in recent months. One with author Tim Lucas, who has just recently released his huge volume on Mario Bava, appears in this issue.
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Il Profumo Della Signora in Nero and the Giallo Film
Scope: An Online Journal of Film and Television Studies Issue 22 February 2012 Cannibals and Other Impossible Bodies: Il Profumo Della Signora In Nero and the Giallo film Alexandra Heller-Nicholas, Swinburne University of Technology, Melbourne, Australia For cult film audiences and academics alike, the Italian giallo film is considered predominantly an auteurist domain, where films by the subgenre‟s big names—Mario and Lamberto Bava, Lucio Fulci, Aldo Lado, Sergio Martino, Umberto Lenzi, Luciano Ercoli, and of course Dario Argento—have generally garnered the most attention. Translating literally to “yellow,” the word giallo refers to the yellow covers of the pulp crime novels released by publisher Mondadori during the 1920s, locating the origins of the giallo in the work of authors such as Edgar Wallace. As one of the first giallo films, Mario Bava‟s The Girl Who Knew Too Much (La ragazza che sapev troppo, 1962) contains many of the giallo film‟s signature elements: sex, crime, and most famously a psychotic killer in black leather gloves. But as Mikel J. Koven notes in his book La Dolce Morte: Vernacular Cinema and the Italian Giallo Film (2006), these generic traits are far from uniform, and a privileging of the most well- known giallo auteurs risks missing the subgenre‟s thematic foundations. Inherent to Koven‟s analysis of giallo is its status as a fundamentally Italian cultural phenomenon. However, the reality of their production contexts speaks of a category that expanded far beyond national borders. While the giallo film is commonly discussed in terms of its fundamental “Italianness,” it is worthy of note that 68 of the 134 films listed in Adrian Luther Smith‟s book Blood and Black Lace: The Definitive Guide to Italian Sex and Horror Movies (1999) are international co-productions.
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22 “Te sound, it looks wonderful.” — Dario Argento If the colour yellow once evoked the pleasant imagery of bright summer days and blooming bush daisies, it certainly took a dark turn in the cinematic world of twentieth century Italy. Murder mysteries shot in saturated colours depicting grim, twisted nightmares of brutal killings became the new yellow—the giallo flm. But before referring to a genre of graphic Italian horror flms, giallo, the Italian word for yellow, was used to describe a genre of paperback mystery novels with bright yellow spines and covers introduced by the Milanese publishing house Mondadori in 1929.1 Most of the stories were translations of English whodunits and hard- boiled detective novels, including work by Edgar Allan Poe, Sir Arthur Conan Doyle, and Agatha Christie 2, with translations of Edgar Wallace novels appearing to be some of the most popular during the 1930s and 1940s.3 Despite the fact some critics, such as Alberto Savino, believed that mysteries were “unnatural” and “foreign” to Italian culture, these novels managed to inspire not only an Italian literary tradition with authors such as Giorgio Scerbanenco, Andrea Camilleri, and Carlo Lucarelli 4, but also some of the most terrifying and visually striking flms to come out of Italy during the 1960s and 1970s. Gialli frequently cross generic boundaries of crime flms, horror movies, and thrillers, and therefore may be more appropriately considered flone, as they are by many Italian critics, rather than part of a genre.5 Meaning large thread, the term flone is used to indicate a looser collection of similar themes and styles.6 Gialli can be more generally related to each other in this way, and thus a flm like Dario Argento’s Suspiria (1977) can be called giallo despite its greater resemblance to the supernatural horror thriller.
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CINERGIE il cinema e le altre arti 4 CRITICA The Female Vampires and the Uncanny Childhood CINEFILIA A Journey across Italian Gothic Cinema E FESTIVAL Throughout the course of this essay, I prefer the use of the word “Gothic” to “Horror” in order to help STUDIES to defi ne the cinema of such directors as Riccardo Freda, Mario Bava, Lucio Fulci, and Dario Argento. This decision is not due to the negative connotations traditionally attributed to the word “Horror”, which is still in common use among those who write about cinema, often even in place of the more general category of the “Fantastic”1. But rather, the word “Gothic” seems to fi t better with the work of which the aforementioned directors. Its suitability is conceivable, however, only if we can think of an enlargement of the word’s meaning. In fact, if we intend “Gothic” as a categorisation of “excess” and “transgression” (as the term was denoted by Fred Botting in his work Gothic, 1996), encapsulating both the return of the past over the present and the repressed over the conscious, the term “Gothic” may well become a container able to include such cinematic works as those which spread over Italy when the wave Neorealista had already produced its masterpieces2. The Fifties and the Sixties were in fact the chronological span when an objective and unbiased approach to reality was favoured by directors who wanted to document the Italian condition after the Second World War. At the same time as Dino Risi and Antonio Pietrangeli were directing their most important fi lms, Bava had already directed his La maschera del demonio (1960).
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9781474458139 Vampires in It
VAMPIRES IN ITALIAN CINEMA, 1956–1975 66352_Guarneri.indd352_Guarneri.indd i 225/04/205/04/20 110:030:03 AAMM 66352_Guarneri.indd352_Guarneri.indd iiii 225/04/205/04/20 110:030:03 AAMM VAMPIRES IN ITALIAN CINEMA, 1956–1975 Michael Guarneri 66352_Guarneri.indd352_Guarneri.indd iiiiii 225/04/205/04/20 110:030:03 AAMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Michael Guarneri, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 10/12.5 pt Sabon by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5811 5 (hardback) ISBN 978 1 4744 5813 9 (webready PDF) ISBN 978 1 4744 5814 6 (epub) The right of Michael Guarneri to be identiﬁ ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66352_Guarneri.indd352_Guarneri.indd iivv 225/04/205/04/20 110:030:03 AAMM CONTENTS Figures and tables vi Acknowledgements viii Introduction 1 PART I THE INDUSTRIAL CONTEXT 1. The Italian ﬁ lm industry (1945–1985) 23 2. Italian vampire cinema (1956–1975) 41 PART II VAMPIRE SEX AND VAMPIRE GENDER 3.
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FOR IMMEDIATE RELEASE ENZIAN ANNOUNCES “13 Films of Halloween” LINEUP THROUGHOUT OCTOBER Orlando, FL (August 24, 2017)
Media Contact: Valerie Cisneros [email protected] 407-629-1088 x302 FOR IMMEDIATE RELEASE ENZIAN ANNOUNCES “13 Films of Halloween” LINEUP THROUGHOUT OCTOBER Orlando, FL (August 24, 2017) – Enzian is showcasing a series of scary movies and events so you can celebrate Halloween all month long. The lineup features programs for all ages and includes a free outdoor screening, parties, midnight films, and cult classics. Matthew Curtis, Programming Director of Enzian, remarked, “We’ve truly outdone ourselves with this year’s incredible lineup for our month-long ‘13 Films of Halloween’ in October. With films from all over the world--including the USA, UK, Italy, France and Germany—made over the course of the last century (1920–2015), our Halloween programming has never been so diverse and chock full of thrills and chills for every taste. Where else can one go and see landmark films on the big screen from the likes of Tobe Hooper, Danny Boyle, Eli Roth, William Friedkin, Brian De Palma, Francis Ford Coppola, Mario Bava, Alexandre Aja, and Wes Craven, not to mention a free outdoor screening under the stars of the original version of THE BLOB with Steve McQueen, all within a 4-week period?” WHAT: Cult Classics: Poltergeist Tuesday, October 3rd at 9:30PM Strange and creepy happenings beset an average California family, the Freelings — Steve (Craig T. Nelson), Diane (JoBeth Williams), teenaged Dana (Dominique Dunne), eight-year-old Robbie (Oliver Robins), and five-year-old Carol Ann (Heather O’Rourke) — when ghosts commune with them through the television set. Initially friendly and playful, the spirits turn unexpectedly menacing, and, when Carol Ann goes missing, Steve and Diane turn to a parapsychologist and eventually an exorcist for help.
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Genre, Gender, Giallo: the Disturbed Dreams of Dario Argento
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Italian Popular Films - Course Intro Week 6 - October 23 Fall 2018 September 6 the Peplum Adventure Film Ercole Al Centro Della Terra (Hercules In
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